1 \input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
2 @setfilename lilypond-changes.info
3 @settitle LilyPond Changes
8 @macro inputfileref{DIR,NAME}
9 @uref{../../\DIR\/collated-files.html#\NAME\,@file{\DIR\/\NAME\}}@c
11 @macro usermanref{NAME}
12 @inforef{\NAME\,,../user/lilypond/lilypond}@c
17 @macro inputfileref{DIR,NAME}
20 @macro usermanref{NAME}
21 See user manual, \NAME\
25 @macro textanchor{NAME}
32 @documentencoding UTF-8
39 @top New features in 2.20 since 2.18
41 @allowcodebreaks false
49 * add new items at the top
51 * only show verbatim input for syntax/input changes
53 * try to be as brief possible in those cases
55 * don't try to provide real-world examples, they often get too big,
56 which scares away people.
58 * Write complete sentences.
60 * only show user-visible changes.
65 Music (and scheme and void) functions and markup commands that
66 just supply the final parameters to a chain of music and function
67 and markup command calls, respectively, can now be defined in the
68 form of just writing the expression cut short with @code{\etc}.
69 @lilypond[verbatim,quote]
70 bold-red-markup = \markup \bold \with-color #red \etc
71 highlight = \tweak font-size 3 \tweak color #red \etc
73 \markup \bold-red "text"
74 \markuplist \column-lines \bold-red { One Two }
76 { c' \highlight d' e'2-\highlight -! }
80 LilyPond functions defined with @code{define-music-function},
81 @code{define-event-function}, @code{define-scheme-function} and
82 @code{define-void-function} can now be directly called from Scheme
83 as if they were genuine Scheme procedures. Argument checking and
84 matching will still be performed in the same manner as when
85 calling the function through LilyPond input. This includes the
86 insertion of defaults for optional arguments not matching their
87 predicates. Instead of using @code{\default} in the actual
88 argument list for explicitly skipping a sequence of optional
89 arguments, @code{*unspecified*} can be employed.
92 Current input location and parser are now stored in GUILE fluids
93 and can be referenced via the function calls @code{(*location*)}
94 and @code{(*parser*)}. Consequently, a lot of functions
95 previously taking an explicit @code{parser} argument no longer do
98 Functions defined with @code{define-music-function},
99 @code{define-event-function}, @code{define-scheme-function} and
100 @code{define-void-function} no longer use @code{parser} and
101 @code{location} arguments.
103 With those particular definitions, LilyPond will try to recognize
104 legacy use of @code{parser} and @code{location} arguments,
105 providing backwards-compatible semantics for some time.
108 The @code{whiteout} grob property and @code{\whiteout} markup command
109 now create a white background built from multiple displaced copies of
110 the glyph in order to approximate the contours of its outline.
111 The previous rounded box white background can be achieved with the
112 new @code{whiteout-box} grob property and @code{\whiteout-box} markup
113 command. Setting the @code{whiteout} property to a number now sets
114 the thickness of the white outline as a multiple of staff-line
115 thickness. Similarly, overriding the @code{thickness} property of
116 the @code{\whiteout} markup command sets the thickness of the white
120 In the "english" notename language, the long notenames for pitches
121 with accidentals now contain a hyphen for better readability. You
126 instead of the previous
131 Double accidentals do not get another hyphen, so the Dutch
132 @code{cisis} has the long English notename @code{c-sharpsharp}.
135 The visual style of tremolo slashes (shape, style and slope)
136 is now more finely controlled.
137 @lilypond[quote,relative=2]
139 \override StemTremolo.shape = #'beam-like
141 \override StemTremolo.style = #'constant
148 Multi-measure rests have length according to their total duration,
149 under the control of @code{MultiMeasureRest.space-increment}.
151 { \compressFullBarRests
152 \override Staff.MultiMeasureRest.space-increment = 3.0
157 Page numbers may now be printed in roman numerals, by setting the
158 @code{page-number-type} paper variable.
161 It is now possible to use @code{\time} and @code{\partial}
162 together to change the time signature in mid measure.
164 @lilypond[verbatim,quote,relative=1]
165 \override Score.BarNumber.break-visibility = #end-of-line-invisible
166 \partial 4 \time 3/4 f4 | 2 4 | 2 \bar "||"
167 \time 9/8 \partial 4. f8 8 8 | 2. 8 8 8 |
171 It is now possible to override the @code{text} property of
174 @lilypond[verbatim,fragment,quote]
176 \new ChordNames \chordmode {
178 \once \override ChordName.text = #"foo"
185 Improved horizontal alignment when using @code{TextScript},
186 with @code{DynamicText} or @code{LyricText}.
189 A new command @code{\magnifyStaff} has been added which scales staff
190 sizes, staff lines, bar lines, beamlets and horizontal spacing generally
191 at the @code{Staff} context level. Staff lines are prevented from being
192 scaled smaller than the default since the thickness of stems, slurs, and
193 the like are all based on the staff line thickness.
196 @code{InstrumentName} now supports @code{text-interface}.
199 There is now support for controlling the @q{expression level} of
200 MIDI channels using the @code{Staff.midiExpression} context property.
201 This can be used to alter the perceived volume of even sustained notes
202 (albeit in a very @q{low-level} way) and accepts a number value between
203 @code{0.0} and @code{1.0}.
208 midiExpression = #0.6
209 midiInstrument = #"clarinet"
214 \set Staff.midiExpression = #0.7 s4\f\<
215 \set Staff.midiExpression = #0.8 s4
216 \set Staff.midiExpression = #0.9 s4
217 \set Staff.midiExpression = #1.0 s4
219 \set Staff.midiExpression = #0.9 s4\>
220 \set Staff.midiExpression = #0.8 s4
221 \set Staff.midiExpression = #0.7 s4
222 \set Staff.midiExpression = #0.6 s4\!
230 Support for making it easier to use alternative @q{music} fonts other
231 than the default Emmentaler in LilyPond has been added. See
232 @uref{http://fonts.openlilylib.org/} for more information.
235 Grobs and their parents can now be aligned separately allowing
236 more flexibility for grob positions. For example the @q{left} edge of a
237 grob can now be aligned on the @q{center} of its parent.
240 Improvements to the @code{\partial} command have been made to
241 avoid problems when using multiple, parallel contexts.
243 @item @code{\chordmode} can now use @code{< >} and @code{<< >>}
247 The @code{NullVoice} context is now @q{below} @code{Score}.
250 A new command @code{\tagGroup} has now been added. This compliments
251 the existing @code{\keepWithTag} and @code{\removeWithTag} commands.
255 \tagGroup #'(violinI violinII viola cello)
258 declares a list of @q{tags} that belong to a single @q{tag group}.
261 \keepwithTag#'violinI
264 Is now only concerned with @q{tags} from @q{violinI}’s tag group.
266 Any element of the included music tagged with one or more tags from the
267 group, but @emph{not} with @var{violinI}, will be removed.
270 The @code{\addlyrics} function now works with arbitrary contexts
271 incuding @code{Staff}.
274 String numbers can now also be used to print roman numerals
275 (e.g. for unfretted string instruments).
276 @lilypond[verbatim,quote,relative=2]
285 The @code{thin-kern} property of the @code{BarLine} grob has been
286 renamed to @code{segno-kern}.
289 @code{KeyCancellation} grobs now ignore cue clefs (like
290 @code{KeySignature} grobs do).
293 Add support for @code{\once@tie{}\unset}
296 It is now possible to individually color both the dots and parentheses
297 in fret diagrams when using the @code{\fret-diagram-verbose} markup
300 @lilypond[verbatim,quote,relative=1]
303 \override #'(fret-diagram-details . (
304 (finger-code . in-dot))) {
305 \fret-diagram-verbose #'((mute 6)
306 (place-fret 5 3 1 red)
307 (place-fret 4 5 2 inverted)
308 (place-fret 3 5 3 green)
309 (place-fret 2 5 4 blue inverted)
310 (place-fret 1 3 1 violet)
315 \override #'(fret-diagram-details . (
316 (finger-code . below-string))) {
317 \fret-diagram-verbose #'((mute 6)
318 (place-fret 5 3 1 red parenthesized)
319 (place-fret 4 5 2 yellow
322 (place-fret 3 5 3 green)
323 (place-fret 2 5 4 blue )
332 Two new properties have been added for use in
333 @code{fret-diagram-details} when using the @code{\fret-diagram-verbose}
334 markup command; @code{fret-label-horizontal-offset} which affects the
335 @code{fret-label-indication} and @code{paren-padding} which controls the
336 space between the dot and the parentheses surrounding it.
338 @lilypond[verbatim,quote,relative=1]
341 \fret-diagram-verbose #'((mute 6)
345 (place-fret 1 6 4 parenthesized)
350 \override #'(fret-diagram-details . (
351 (fret-label-horizontal-offset . 2)
352 (paren-padding . 0.25))) {
353 \fret-diagram-verbose #'((mute 6)
357 (place-fret 1 6 4 parenthesized)
366 A new markup command @code{\justify-line} has been added. Similar to
367 the @code{\fill-line} markup command except that instead of setting
368 @emph{words} in columns, the @code{\justify-line} command balances the
369 whitespace between them ensuring that when there are three or more
370 words in a markup, the whitespace is always consistent.
372 @lilypond[quote,verbatim,papersize=a6]
373 \markup \fill-line {oooooo oooooo oooooo oooooo}
374 \markup \fill-line {ooooooooo oooooooo oo ooo}
377 @lilypond[quote,verbatim,papersize=a6]
378 \markup \justify-line {oooooo oooooo oooooo oooooo}
379 \markup \justify-line {ooooooooo oooooooo oo ooo}
383 A new command @code{\magnifyMusic} has been added, which allows
384 the notation size to be changed without changing the staff size,
385 while automatically scaling stems, beams, and horizontal spacing.
387 @lilypond[verbatim,quote]
389 \new Voice \relative {
391 <e' e'>4 <f f'>8. <g g'>16 <f f'>8 <e e'>4 r8
393 \new Voice \relative {
396 \override Score.SpacingSpanner.spacing-increment = #(* 1.2 0.63)
397 r32 c'' a c a c a c r c a c a c a c
398 r c a c a c a c a c a c a c a c
405 A new flexible template suitable for a range of choral music, is now
406 provided. This may be used to create simple choral music, with or
407 without piano accompaniment, in two or four staves. Unlike other
408 templates, this template is @q{built-in}, which means it does not
409 need to be copied and edited: instead it is simply @code{\include}'d
410 in the input file. For details, see @rlearning{Built-in templates}.
413 The positioning of tuplet numbers for kneed beams has been significantly
414 improved. Previously, tuplet numbers were placed according to the
415 position of the tuplet bracket, even if it was not printed. This could
416 lead to stranded tuplet numbers. Now they are now positioned
417 closer to the kneed-beam when an appropriate beam segment exists for its
418 placement and when the the bracket is not drawn.
420 Collision detection is also added, offsetting horizontally if too close
421 to an adjoining note column but preserving the number's vertical
422 distance from the kneed beam. If the number itself is too large to
423 fit in the available space the original, bracket-based, positioning
424 system is used instead; and in the event of a collision (e.g. with an
425 accidental) the tuplet number is moved vertically away instead.
427 @lilypond[verbatim,fragment,quote,relative=1]
429 \override Beam.auto-knee-gap = 3
438 The original kneed-beam tuplet behavior is still available through an
439 @code{\override} via a new, @code{knee-to-beam} property.
441 @lilypond[verbatim,fragment,quote,relative=1]
443 \override Beam.auto-knee-gap = 3
444 \override TupletNumber.knee-to-beam = ##f
453 @code{\lyricsto} and @code{\addLyrics} have been @q{harmonized}. Both
454 now accept the same kind of delimited argument list that @code{\lyrics}
455 and @code{\chords} accept. Backward compatibility has been added so
456 music identifiers (i.e. @code{\mus}) are permitted as arguments. A
457 @code{convert-ly} rule has been added that removes redundant uses of
458 @code{\lyricmode} and rearranges combinations with context starters such
459 that @code{\lyricsto} in general is applied last (i.e. like
460 @code{\lyricmode} would be).
463 Scheme functions and identifiers can now be used as output definitions.
466 Scheme expressions can now be used as chord constituents.
469 Improved visual spacing of small and regular @q{MI} Funk and Walker
470 noteheads so they are now the same width as other shaped notes in
471 their respective sets. @code{SOL} noteheads are also now visually
472 improved when used with both the normal Aiken and Sacred Harp heads, as
473 well as with the thin variants.
476 @code{LeftEdge} now has a definable @code{Y-extent} (i.e.vertical). See
477 @rinternals{LeftEdge}.
480 Added a new @code{make-path-stencil} function that supports all
481 @code{path} commands both relative and absolute:
483 @code{lineto}, @code{rlineto}, @code{curveto}, @code{rcurveto},
484 @code{moveto}, @code{rmoveto}, @code{closepath}. The function also
485 supports @q{single-letter} syntax used in standard SVG path commands:
487 @code{L}, @code{l}, @code{C}, @code{c}, @code{M}, @code{m}, @code{Z} and
488 @code{z}. The new command is also backward-compatible with the original
489 @code{make-connected-path-stencil} function. Also see
490 @file{scm/stencil.scm}.
493 Context properties named in the @samp{alternativeRestores} property are
494 restored to their value at the start of the @emph{first} alternative in
495 all subsequent alternatives.
497 Currently the default set restores @q{current meter};
499 @lilypond[verbatim,fragment,quote,relative=2]
501 \repeat volta 2 { c2 e4 | }
510 @q{measure position};
512 @lilypond[verbatim,fragment,quote,relative=2]
514 \repeat volta 2 { c2 e4 | }
517 \set Timing.measurePosition = #(ly:make-moment -1/2)
525 and @q{chord changes};
527 @lilypond[verbatim,fragment,quote]
530 \set chordChanges = ##t
531 \chordmode { c1:m d:m c:m d:m }
534 \repeat volta 2 { \chordmode { c1:m } }
536 { \chordmode { d:m } }
537 { \chordmode { c:m } }
545 Improved MIDI output for breathe marks. After tied notes, breaths take
546 time @emph{only} from the last note of the tie; e.g.
547 @code{@{ c4~ c8 \breathe @}} performs as @code{@{ c4~ c16 r @}} instead
548 of @code{@{ c4 r8 @}}. This is more consistent with articulations and
549 how humans interpret breaths after ties. It now also makes it easier to
550 align simultaneous breathe marks over multiple parts, all with different
554 A new note head style for Tabulature has been added;
555 @code{TabNoteHead.style = #'slash}.
558 Four new Clef glyphs have been added @emph{Double G}, @emph{Tenor G},
559 @emph{Varpercussion} and @emph{varC} and their related tessitura.
560 @lilypond[verbatim,quote,fragment]
561 \override Staff.Clef.full-size-change = ##t
564 \clef "tenorG" c c c c
566 \clef "altovarC" c c c c
567 \clef "tenorvarC" c c c c
568 \clef "baritonevarC" c c c c
569 \clef "varpercussion" c c c c
572 \override Staff.Clef.full-size-change = ##f
575 \clef "tenorG" c c c c
577 \clef "altovarC" c c c c
578 \clef "tenorvarC" c c c c
579 \clef "baritonevarC" c c c
580 \clef "varpercussion" c c c c
584 Isolated durations in music sequences now stand for unpitched
585 notes. This may be useful for specifying rhythms to music or
586 scheme functions. When encountered in the final score, the
587 pitches are provided by the preceding note or chord. Here are two
588 examples where this makes for readable input:
590 @lilypond[verbatim,quote]
591 \new DrumStaff \with { \override StaffSymbol.line-count = 1 }
594 tambourine 8 \tuplet 3/2 { 16 16 16 }
595 8 \tuplet 3/2 { 16 16 16 } 8 8 |
599 @lilypond[verbatim,quote]
600 \new Staff { r16 c'16 ~ 8 ~ 4 ~ 2 | }
604 @code{\displayLilyMusic} and its underlying Scheme functions no
605 longer omit redundant note durations. This makes it easier to
606 reliably recognize and format standalone durations in expressions
613 Beaming exceptions can now be constructed using the
614 @code{\beamExceptions} scheme function. One can now write
616 @lilypond[verbatim,quote,relative=1]
618 \set Timing.beamExceptions =
619 \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
621 \repeat unfold 6 { c32 } |
625 with multiple exceptions separated with @code{|} bar checks
626 (writing the exception pattern without pitches is convenient but
627 not mandatory). Previously, setting the beam exceptions would
628 have required writing
631 \set Timing.beamExceptions =
633 (end . ;entry for end of beams
634 ( ;start of alist of end points
635 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
640 The most common articulations are now reflected in MIDI output.
641 Accent and marcato make notes louder; staccato, staccatissimo and
642 portato make them shorter. Breath marks shorten the previous
645 This behavior is customizable through the @code{midiLength} and
646 @code{midiExtraVelocity} properties on @code{ArticulationEvent}.
647 See @file{script-init.ly} for examples.
650 The PostScript functionality of stroke adjustment is no longer
651 applied automatically but left to the discretion of the PostScript
652 device (by default, Ghostscript uses it for resolutions up to
653 150dpi when generating raster images). When it is enabled, a more
654 complex drawing algorithm designed to benefit from stroke
655 adjustment is employed mostly for stems and bar lines.
657 Stroke adjustment can be forced by specifying the command line
658 option @samp{-dstrokeadjust} to LilyPond. When generating
659 @code{PDF} files, this will usually result in markedly better
660 looking @code{PDF} previews but significantly larger file size.
661 Print quality at high resolutions will be unaffected.
666 For older news, go to
667 @uref{http://lilypond.org/doc/v2.18/Documentation/changes/},
668 @uref{http://lilypond.org/doc/v2.16/Documentation/changes/},
669 or @uref{../,go back} to the Documentation index.